Introduction to Carne Griffiths

Experimental watercolor techniques

1. Blowing through a drinking straw-Adding just enough water will allow the artist to create droplets of color on a surface that can be blown around using a drinking straw. Tricks: 1) use only enough water and not so much that it becomes too transparent, 2) mix the colors by blowing them on top of each other when they are wet, 3) limit your colors-- mixing too many colors will create a muddy color.

Although this sounds funny, it is necessary to say: If you feel faint from blowing through straw too much, STOP! Take a deep breath and relax for a minute.

2. Tilting and runningStraight forward: watercolor runs when the surface is tilted. Take advantage of this. Doing so effectively can easily help satisfy the Spontaneity requirement.

3. Spritz bottleI have small clear spray bottles with white tops that can be used to spritz watercolor on your surface. Please do not ruin my bottles by not using enough water. The video used for the plastic wrap technique demonstrates using it correctly; however, you may wish to let it dry without blending.

4. Plastic wrapAlso known as cling wrap, Glad™ wrap, or Saran™ wrap, this plastic wrap can create some interesting effects with watercolor. Although you may have used it with small pieces before, I'm interested in how it can be used with larger 18" x 24" paintings. Please ask me for leftover ROTC laundry bags if you want to try this technique on a larger scale.

Hint: LET IT DRY! Peeling it up too early will only let the colors bleed back into each other. Exercise patience.

5. SaltSalt can be used to add texture to your watercolors. Different colors react differently. In my experience, blues and greens seem to work the best, but please try your own colors in your IWB.

Hint: Unless you are using Kosher salt like in this video to the right, do NOT over salt. Pinch a little with your fingers and sprinkle it around. Over-salting will prevent the absorption into specific places. Also, LET IT DRY completely before removing.

6. ToothbrushThis is pretty self-explanatory. I have some old toothbrushes.

Implied lines

As I look at Carne Griffiths's images, I am impressed by his use of implied lines. This means that he is able to create the illusion of form or a shape without drawing lines.

I'm going to regret this, but I've used the picture on the right as an example of how a portrait can have implied lines. Look specifically at my forehead over the eye on the right (my left eye), the bridge on my nose, and in my shirt. How man implied lines can you find?

Using implied lines will help open up your composition and blur the distinction between your positive and negative space, which will allow your watercolor techniques to work all over the composition.

Creating the portrait

There are several ways of getting your portrait onto the large watercolor paper.

Draw it!I know that you most of you are timid about your drawing skills, especially with portraiture, but you may find that this will be an excellent opportunity to practice your skill with this very forgivable project. If you mess up, do a technique on top.

Image transfer using Impasto Gel-- transferring the portrait directly onto the surface means that the image will be backwards, unlike with the layering of Liquitex Medium Varnish and soaking. This way also means that you will have a paper surface that still absorbs watercolor once you remove the paper pulp from the back.

Trace your own photo using carbon paper, which is not preferred but still works. Try not to let the carbon lines be visible in the end. Otherwise, it will be quick way of making your art look cheap.

Watercolor hints

Two important concepts to remember when comes to watercoloring:

It is okay to leave the paper unpainted, and

Watercolor is really about staining the paper with colored water-- allow some of your colors to remain extremely transparent.

Procedures

Practice extensively in your IWB. You'll want to experiment with different techniques of creating a portrait as much as you play around with the watercolor. Note: the watercolor paper is much more cloth-like than your IWB paper and will act differently.

Obtain a piece of large watercolor paper.

Demonstrate your ability to create a large portrait in your composition that shows a complete value range. If you are drawing, then this should be done using various pressures and different types of dark pencils. USE IMPLIED LINES. If you are using your own digital photo, then take advantage of the software's contrast settings.

Stick to a limited color palette. Mixing the colors too much will create a mud color that most watercolorists associate with a mistake. Consider using my Color book or going to http://colorschemedesigner.com.

Begin applying a wet-on-wet technique to vague areas.

As you begin adding dry-brush techniques, be careful to not camouflage your portrait too much. Remember, the portrait needs to take up a 60% of the composition and needs to show a sensitivity to highlights and shadows.

Take risks! Apply some of your techniques from your IWB into your artwork.

If necessary due to over watercoloring, redefine your subject matter using quick black lines. This is not preferred but may be necessary.